DIS Shareholders and Stock Info ONLY

I just stumbled across an old post of mine where we were lamenting the new lows DIS was hitting in Sep. 2023. This was about two months before Peltz launched his latest battle, apparently I had almost called his next move...

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Anyway, take a look at how DIS has fared since - DIS is doubling the S&P and it's not even a fair comparison with the other old media companies. Unfortunately, i have more than enough tied up in this one stock so I really never consider adding more, but wow, this was some buying opportunity.


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Just a little positivity for our Wednesday!
No positivity allowed on here. Disney is doomed. ;)

I thought it would take a lot longer than this to hit $115 again. That 20% EPS growth and $8B Cash Flow guidance for FY24 on the last call was pretty telling on how bullish they are going fwd.
 
https://www.wsj.com/business/media/apollo-offers-11-billion-for-paramounts-hollywood-studio-24206eab

Apollo Offers $11 Billion for Paramount’s Hollywood Studio
Offer comes as Paramount’s directors are weighing merger with Skydance

By Jessica Toonkel
Updated March 20, 2024 - 3:04 pm EDT

Private-equity firm Apollo Global Management has made an $11 billion offer to buy Paramount Global’s film and TV studio, according to people familiar with the situation.

The bid comes as an independent committee of the company’s directors is reviewing another offer from Skydance Media to merge with all of Paramount, which also owns CBS, Nickelodeon and a number of other cable networks.

Paramount’s studio has long been an acquisition target. Netflix was among a number of companies that expressed interest over the past few years in buying the studio, which is behind such movies as “Top Gun: Maverick” and “A Quiet Place,” according to other people familiar with the situation.

Apollo could join with other companies to finance a deal.

But Paramount Global’s controlling shareholder, Shari Redstone, and other board members have resisted selling the studio, which they consider the crown jewel of the company. Redstone, who is open to selling Paramount in its entirety, would have to agree to breaking up the company and allowing a sale of the studio to proceed.

Apollo’s offer is more than the entire market capitalization of Paramount Global, which is currently around $7.7 billion. While the studio business is attractive, given its vast library and the demand for fresh programming in the streaming industry, Paramount’s TV networks are declining as the cable business contracts.

Bloomberg and Axios earlier reported on Apollo’s interest in Paramount.

Meanwhile, Skydance Media, the production company run by David Ellison, has made an offer to buy Paramount parent National Amusements and merge Skydance into Paramount.

Redstone controls National Amusements, which owns almost 80% of the voting shares of Paramount.

The details of that offer couldn’t be learned. Ellison is the son of billionaire Larry Ellison, the co-founder of Oracle, who is expected to help fund any deal.

In evaluating the offers, Paramount’s directors have to determine whether the deal would be good for all shareholders, not just its controlling shareholder, National Amusements.

It has been months since news of the Skydance interest in National Amusements first surfaced late last year. So far this year Paramount’s stock has dropped more than 20% and is trading around $11 per share.

Paramount has also had discussions with Warner Bros. Discovery about a merger, and has discussed a streaming partnership or joint venture with Comcast, The Wall Street Journal reported last month.

The daughter of media mogul Sumner Redstone, Shari Redstone reunited the family’s media empire by merging Viacom and CBS in 2019, later renaming the resulting company Paramount Global.

Miriam Gottfried and Laura Cooper contributed to this article.

Write to Jessica Toonkel at jessica.toonkel@wsj.com
 
https://variety.com/vip/streaming-viewership-data-top-svod-series-peak-tv-1235946070/

March 20, 2024 - 6:00am PDT
by Tyler Aquilina
Streaming Viewership Data Shows Steep Drop-Off After Top Originals

What limited data was available on streaming viewership has long suggested the majority of original series on SVOD platforms go largely unwatched. But a new window into that viewership confirms just how vast the gap is between the top hit series and the rest of the field.

As series output soared to historic heights in 2022, with nearly 1,000 original titles released on the major SVOD platforms — as discussed in the VIP+ special report “The Death of Peak TV” — viewership on most services was concentrated among fewer than two dozen shows.

Data from Luminate’s new streaming viewership product shows the top 20 most-watched TV seasons accounted for the vast majority of original series viewership on almost all of the major U.S.-based SVOD platforms in 2022. Indeed, among these services, only Netflix had TV seasons beyond the top 20 collectively approach half of original shows’ viewing time in the U.S.

The drop-off between the top performing shows and the remainder is, if anything, even more striking. On Disney+, which released 50 original series in 2022 (not counting kids content), the 10 most watched seasons captured nearly 80% of original series viewing time; the next 10, just over 16%.

Seasons outside the top 20, meanwhile, accounted for only about 5% of viewing time, the second-lowest proportion among the major SVODs after NBCUniversal’s Peacock, where they accounted for 3%.

This is yet another indication that media companies grossly overspent on original content during the peak TV era. The sheer volume of series produced to lure subscribers increasingly looks, in hindsight, like a poorly considered strategy undertaken merely in an attempt to emulate Netflix — which only produced so many shows because it had to build its own proprietary library from scratch.

Comparing viewership against 2023, the year TV output finally dropped, only underscores this point. Every platform saw a significant uptick in the proportion of viewership going to seasons outside the top 20, indicating that, with fewer new titles to watch, consumers split their viewing time more evenly between series, including previously released original seasons.

This data also indicates that most streaming originals do not have the rewatch value offered by many older series. Whereas beloved library shows such as “Grey’s Anatomy” reliably chart among the most-watched titles on streaming week after week, year after year, new originals are hard-pressed to keep viewers coming back.

Looking again at Disney+, only two of the top 10 original seasons in 2022 reappeared among the top 10 the next year: “The Mandalorian” Season 2 and limited series “Andor,” both “Star Wars” properties. (The former actually saw its share of viewing time rise year over year, likely bolstered by the third season’s premiere.)

In light of this, it should be evident that the end of peak TV could actually be a boon for streaming’s legacy media players.

Having sunk billions into original content with lackluster results — no SVOD has come anywhere close to matching Netflix’s subscriber tally — these companies need to face the fact that a more moderated and considered content strategy could end up yielding similar rewards at a much lower cost. Should this put the industry on a path to renewed health, the death of peak TV could ultimately mean new life for Hollywood.
 
https://deadline.com/2024/03/nbcuniversal-generative-ai-upfront-advertising-sales-1235863220/

NBCUniversal Leans Into AI In Upfront Ad Sales Push
By Dade Hayes - Business Editor @dadehayes March 20, 2024 12:22pm PDT

NBCUniversal plans to start using generative AI in its ad sales efforts, the company announced Wednesday at its One24 event for advertisers.

AI technology will specifically be used to drive audience targeting and advertiser performance as marketers continue to seek ways to make their messages more precise.

The AI initiative is one of several introduced during One24, which was held in Studio 8H in the company’s Rockefeller Center headquarters. The fourth annual event is a lead-up to the main NBCU upfront, which this year will be May 13 at Radio City Music Hall.

The AI offering analyzes large swaths of programming and digital content across the NBCU portfolio and pairs it with the company’s first-party data to produce “emotion-based, AI-powered audience segments,” in the words of an official announcement. NBCU says it has developed 300 segments that help advertisers match content to viewers.

Programmatic buying, an increasingly prevalent system that reduces friction by automating many aspects of the ad process, is coming to the Olympics for the first time this summer with the Paris Games. Through a partnership with The Trade Desk, NBCU is opening up private marketplace, biddable access for advertisers, from the U.S. Olympic Trials to the Olympic and Paralympic Games.

Among the other ad enhancements coming to NBCU is Virtual Concessions, which lets viewers getting set to watch live sports or movies order food, beverages and other items for delivery. Another new offering, Must Shop TV, will outfit six franchises (Below Deck, Love Island USA, Southern Charm, Summer House, Top Chef and Winter Hours) with e-commerce capabilities.

On the measurement front, NBCU is introducing One Platform Total Measurement, a new effort to capture viewership across platforms. The company is also teaming with VideoAmp to help with the new measurement initiative. EDO and Kochava are additional partners in the measurement arena.

“Television today is a full-funnel performance vehicle where marketers can launch, build and grow their brands across any screen at scale,” said Mark Marshall, Chairman, Global Advertising & Partnerships, NBCU. “At One24, we’re continuing to drive our legacy of innovation, moving consumers from aspiration to action and partnering with marketers of all sizes to use technology to move their businesses forward.”
 


I don't think I saw this one posted here - shocking that Disney admitted they stink at IT. LOL
But why didn't Hulu have it ready to go with Dis+?

https://finance.yahoo.com/news/disney-ceo-bob-iger-just-120000208.html

Disney CEO Bob Iger Just Made a Stunning Admission About Netflix. Here's What Investors Need to Know.​


Danny Vena, The Motley Fool



In an interview earlier this month, CEO Bob Iger spoke at length about the state of affairs at Walt Disney (NYSE: DIS). On the topic of streaming, he noted that when Disney+ launched in 2019, the priority was adding viewers at scale. The importance of that can't be overstated as Disney+ signed more than 10 million subscribers in the first 24 hours, quickly growing to 100 million.

That said, Iger admitted that the technology was lacking in a number of ways. The platform wasn't built to control customer acquisition and retention costs or increase viewer engagement, and it wasn't conducive to controlling marketing expenses. Disney is currently working to correct those shortcomings, with Iger making this stunning admission: "The gold standard there is Netflix." He added:
We need to be at their level in terms of technology capability. And one of the reasons why their margins are so much more significant than ours is because they have that technology. So our marketing expenses are significantly higher. Our churn rates are higher than they need to be.

By a wide margin​

In all fairness to Iger, Netflix had a 13-year head start -- and its results help illustrate Iger's point. Excluding foreign currency impact, the streaming pioneer has delivered operating margins of roughly 20% or more in each of the past four years. Furthermore, after years of burning cash to fund its expansion, Netflix's free cash flow has exploded higher, cresting at $6.9 billion in 2023.
There's good news. Disney's combined streaming business is on track to generate a profit by the end of fiscal 2024. This is partially the result of aggressive cost-cutting as Disney is on track to exceed its initial goal of $7.5 billion in cost savings. Furthermore, the sports streaming deal with Warner Bros. Discovery and Fox could unleash additional profit potential for ESPN.
Those factors, plus the improvements in its streaming infrastructure and Iger's track record of success, show why Disney will be the mouse that roared in streaming.
 
https://www.axios.com/2024/03/19/espn-college-football-playoff-tv-deal

ESPN has signed a six-year extension worth $7.8 billion to remain the sole TV partner for the NCAA's top football playoff tournament, ESPN chief Jimmy Pitaro told Sara Fischer during Axios' What's Next Summit on Tuesday.

Why it matters: Maintaining the TV rights to the highly lucrative tournament is essential for ESPN as it transitions to a streaming-first future.

Zoom in: The new deal keeps the College Football Playoff on ESPN through the 2031-32 season. The network's current agreement was set to expire after the 2026 final.
 


https://www.yahoo.com/entertainment/nelson-peltz-backed-over-dozen-141736071.html

Nelson Peltz Backed By Over A Dozen Current, Former Public Company Directors in Disney Proxy Fight
by Lucas Manfredi
Thu, March 21, 2024 at 9:17 AM CDT

Over a dozen current and former public company directors who have worked with Trian Fund Management and its co-founder Nelson Peltz have penned a letter to Disney’s board in support of the activist investor.

“As directors who have worked with Nelson Peltz at some of the world’s most respected companies, we are writing to convey our experience with Nelson in the boardroom and to encourage you to work with him for the benefit of all shareholders,” the letter states. “Some of us, like you, were skeptical about Nelson and were initially opposed to the notion of having him on our boards. Some of us worried that he might derail the successful execution of our strategy. However, after having worked with Nelson, we know that our concerns were misplaced. The companies for which we served as board members alongside Nelson were improved because of his presence on the board.”

“Some of us became Nelson’s colleague after a bitter-fought proxy contest. Others of us asked Nelson to join our boards, and still others of us joined a board after Nelson was already on the board. But one experience we all share: Nelson entered the boardroom every meeting with an open mind, a focus on growth for the benefit of stakeholders and a commitment to working constructively towards our common goal of creating long-term shareholder value,” the letter continues. “With his dedication, focus and sound judgment, Nelson contributed greatly to boardroom discussions. He asked tough questions and challenged our thinking – as any good director does – but was not disruptive or disrespectful. To the contrary, Nelson welcomed different perspectives and encouraged debate. Rather than stifle dissent, Nelson often catalyzed robust, productive discussions that helped move our companies forward. Each of us would happily serve with Nelson again on another board.”

The letter is signed by former Legg Mason, Inc. directors Dennis Beresford and John Hayes, former Procter & Gamble director and Home Depot chairman and CEO Francis Blake, Mondelez International directors Charles Bunch and Jorge Mesquita and former non-executive and lead director Jean-François van Boxmeer, Janus Henderson Group plc chair John Cassady and executive director and CEO Ali Dibadj, Wendy’s director Kenneth Gilbert and lead independent director Art Winkleblack, former H.J. Heinz Company directors Dennis Reilley and Thomas Usher and Sysco Corporation director Sheila Talton.

The public endorsement for Peltz comes ahead of Disney’s annual shareholder meeting on April 3, where he and the entertainment giant’s former chief financial officer Jay Rasulo will stand election for seats on the board.

In addition to Trian, Blackwells Capital has nominated former Warner Bros. and NBCUniversal executive Jessica Schell, Tribeca Film Festival co-founder Craig Hatkoff and TaskRabbit founder Leah Solivan.
 
https://www.hollywoodreporter.com/b...isney-proxy-fight-iss-backs-peltz-1235857258/

In Setback for Disney Board, Influential Shareholder Firm ISS Backs Nelson Peltz in Proxy Fight

ISS, which recommends how institutional shareholders should vote, says that Disney's failed succession processes are key to its recommendation.

March 21, 2024 - 6:55am PDT
by Alex Weprin

In a move that could shape the high-profile proxy fight between The Walt Disney Company and Nelson Peltz’s Trian Partners, the influential advisory firm Institutional Shareholder Services is recommending that its clients vote to add Peltz to Disney’s board of directors.

ISS ultimately recommended a vote for Peltz, but not Trian’s other nominee, Jay Rasulo, and to withhold a vote for current Disney board member Maria Elena Lagomasino.

ISS released a detailed report Thursday outlining Disney’s performance, and evaluating the proposals from both Trian and another activist, Blackwells. ISS noted Disney’s underperformance in recent years, and places particular emphasis on Disney’s succession issues.

And while it praised the strategic moves made since CEO Bob Iger’s return, the firm nonetheless argued that change is needed at the board level.

“Because the company has made positive changes to its board as well as operational changes that have been well received by the market, we recognize that some shareholders may feel that the company has sufficiently course corrected. These investors have likely drawn comfort from Iger’s return. Nonetheless, given the major missteps and severe consequences of the failed 2020 succession, particularly for a company that already had a history of succession drama, it may be difficult for others to simply trust that the board, albeit refreshed, will get it right this time,” ISS wrote in its report. “These shareholders may be concerned about post-Iger DIS. Our analysis favors this latter view.”

“Dissident nominee Peltz, as a significant shareholder, could be additive to the succession process, providing assurance to other investors that the board is properly engaged this time around,” the report continued. “He could also help evaluate future capital allocation decisions. Moreover, multi-year concerns surrounding Lagomasino’s role as a compensation committee member strengthen the case that Peltz’s addition, on balance, would appear a net positive.”

The recommendation by ISS carries substantial weight among institutional shareholders, with Iger noting himself in his 2019 memoir that the firm can influence “more than a third” of votes in a proxy. In fact, Iger recalls ISS’ recommendation 20 years ago as being critical to Roy Disney’s surprise showing in that proxy battle.

“I remember thinking that it was like we’d entered a conventional war … and now another party had launched nuclear weapons,” Iger wrote of the ISS recommendation in favor or Roy Disney’s campaign.

This time around, Disney has garnered far more support than it did 20 years ago. Perhaps most notably, the families of Roy and Walt Disney have all signed letters supporting Iger and the Disney board. Star Wars creator George Lucas is also backing the company, and another shareholder advisor firm, Glass Lewis, offered a recommendation in support of the Disney board.

“This is an unusual contest in that it involves an iconic global company, closely scrutinized and widely covered by media, and a CEO who can be characterized as a celebrity thanks to his successful track record at this company, the glamor associated with the job, and his own published autobiography,” ISS writes, noting the public attention on the fight.

But this year’s proxy fight has been public and bitter, with Peltz and Rasulo heaping criticism at the company for its stock performance, and at Iger for past succession issues, and Disney punching back by calling the activists “disruptive and destructive.”

ISS sidesteps Blackwells, noting that the firm has spent a great deal of effort firing potshots at Trian and ValueAct (an activist firm aligned with Disney), and that it does not own any substantial stake in Disney. “These inconsistencies make it hard to ascertain Blackwells’ precise intention with this campaign,” ISS writes.

Instead, it argues that Trian’s case is more persuasive, given the multi-billion dollar stake they hold, and Peltz’s experience on public company boards.

In recommending a vote against Lagomasino, ISS argues: “As DIS’ longest tenured independent director and a member of the nomination and governance committee since 2019, she arguably bears more accountability than most for the failed succession process prior to Iger’s decision to step down in 2020.”

As for Iger, ISS suggests that he is not the issue, but rather that Disney’s issues lie with the board.

“The decision to bring Iger back was the right one given his track record, as well as investors’ confidence in his understanding of the business and decisionmaking related to company strategy,” ISS writes. “While it is clear that Iger is the right CEO for DIS at the moment, there are lingering questions about the board’s ability to properly oversee the next CEO transition, whether it happens in 2026 or in later years, and the significant strategic changes the company is undertaking, particularly given the ongoing challenging industry environment.”

“By definition, the decision to ask a former CEO (especially one who indicated it was time for him to retire) to return to the company to replace a successor whom the board did not adequately vet is evidence of a critically flawed succession process. In DIS’ case, shareholders paid a steep price,” the ISS report continues. “The board may argue that Iger was the only logical choice to lead the turnaround; this is a valid point, but one has to wonder where the company would be had Iger not been available, or willing, to return.”
 
https://deadline.com/2024/03/disney-board-fight-response-1235864490/

Bob Iger Is A “Once-In-A-Generation Leader” Laurene Powell Jobs Says In Steely Rebuke To Proxy Advisory Firm Advice That Nelson Peltz Join Disney Board – Update
By Dominic Patten, Jill Goldsmith
March 21, 2024 - 8:10am PDT

UPDATED with Laurene Powell Jobs statement: The fight for the future of the Walt Disney Company got very fast and furious this morning.

Just minutes after influential proxy advisory board Institutional Shareholder Services recommended adding activist investor Nelson Peltz to the Disney board, the chairman struck back with a blunt dismissal. Rolling out the really heavy artillery, that first response was soon followed by a strong shutdown of the Peltz uprising by the widow of Apple kingpin Steve Jobs.

“While we’re heartened to see support for Michael Froman and ISS’ recommendation to withhold on dissident directors Jay Rasulo and the Blackwells’ nominees, we strongly believe that ISS reached the wrong conclusion in its recent report when it comes to adding Nelson Peltz to the board,” Disney board boss Mark Parker said Thursday as an increasingly bitter April 3 vote by shareholders looms.

“In contrast to Glass Lewis, ISS fails to acknowledge the breadth of perspective and expertise Ms. Lagomasino adds to the Board,” Parker added. Glass Lewis is another influential proxy advisory firm that came out in last week in favor of all Disney nominees “The strong recent performance and results overseen by the Disney Board demonstrate our focus on long-term shareholder value creation and succession planning an our commitment to good governance practices”

As Disney’s succession plans once again became the core of the board dispute, one of the largest and most influential single shareholders in Disney added her voice to the proxy dust-up today, clearly in a move to shut ISS down. Laurene Powell Jobs, founder and president, Emerson Collective, said this morning:
My family and I have been significant investors in The Walt Disney Company for nearly two decades, and in that time, we have seen the company transformed thanks to the steady and visionary leadership of Bob Iger and Disney’s expert Board of Directors. What has always set Disney apart is the way it combines unbridled creativity with technological innovation to tell timeless stories—stories that inspire and enrich the world around us. There is no one who understands Disney’s important legacy or the responsibility to protect it more than Bob Iger. He is a once-in-a-generation leader with an ambitious vision for the future, and we as shareholders are fortunate to have him guiding this cherished company at such a crucial moment in its history. I urge my fellow shareholders to support Bob and the company’s slate of highly qualified Director nominees.
Pivotal to the rise of past and present Disney CEO Iger to the Mouse House top spot in 2005, ISS today put its weight behind the Ike Perlmutter-backed Peltz for “his considerable experience on other boards and fiduciary duties owed to a large shareholding group, appears best positioned to bring a shareholder perspective to the board.”

Booted off his corporate perch permanently by Iger back in 2023, former Marvel chief Perlmutter has delivered his not inconsiderable voting shares to Trian’s Peltz and their handpicked board candidates of ex-Disney CFO Rasulo, who left the company in a succession huff in 2015, and others. Last week, the Peltz co-founded Trian Fund Management said that the rancor between Iger and Perlmutter was “irrelevant” to the long proxy battle. In a bit of irony, the firm added that it was “disappointed that Disney is running a scorched-earth campaign” in the war for board power.

Today, Disney also noted that Trian’s “silent partner, former Disney employee Ike Perlmutter, owns almost 79% of Trian’s Disney shares” and that the ISS itself report called Perlmutter’s involvement “an unfortunate distraction.” The company went on to say, “this dynamic is relevant to assessing the Trian Group’s nominees, as Mr. Perlmutter has a fraught history and longstanding personal agenda against Disney’s CEO, Robert A. Iger, which would likely inhibit Nelson Peltz from working constructively with Disney’s Board, threatening the company’s continued turnaround.”

Further decrying Peltz’s participation on the Disney board, the company said that the investor “does not bring additive skills to the board, nor does he have a meaningful plan to deliver superior shareholder value in an evolving and increasingly complex global landscape, in stark contrast to the director Trian seeks to replace – Maria Elena Lagomasino.”

Disney also defended Lagomasino “as a seasoned financial leader with an extensive capital markets career that has been centered on fiduciary responsibility, honing an investor perspective, and deep expertise in corporate governance,” noting her role a a founder of the Institute for the Fiduciary Standard, a think tank that promoted the vital importance of the fiduciary standard in investment and financial advice.

Even with that long held perspective by Disney, ISS Thursday still decided that Peltz would still be useful on the board despite the connection, citing in particular what it called critically flawed succession planning at Disney.

That succession planning is what saw Iger return to the CEO gig in late 2022 after a series of stumbles by his hand-picked and short-lived successor Bob Chapek. Initially back for just two years to right the ship and put a new generation in charge, Iger’s contract was given another two years by the board in July 2023. Right now, the 72-year old CEO is set to hand over the reins and exit at the end of 2026.

Earlier this year, former Morgan Stanley CEO and chairman James Gorman joined the Disney board in what many saw as a clear indication that succession was on everyone’s mind – with Gorman as a seasoned hand to guide the process. In February, just after an earnings report was released, Iger told CNBC “the succession committee meets regularly and finding the next CEO is probably the board’s number one priority.”
 
https://deadline.com/2024/03/paramount-stock-shari-redstone-apollo-offer-studio-1235864990/

Paramount Stock Rides Roller Coaster Back Down After Report That Shari Redstone Is “Unconvinced” By Apollo Offer For Studio
By Dade Hayes - Business Editor @dadehayes March 21, 2024 10:47am PDT

Paramount Global shares, which soared Wednesday on news that Apollo had made an $11 billion offer for Paramount Pictures, has slumped today after a report splashed cold water on the scenario.

Shares in the media company had dropped 5% by mid-day, to below $12, after the Financial Times reported that controlling shareholder Shari Redstone is “unconvinced” by the private equity offer. Apollo’s offer, which valued just the studio at more than the entirety of Paramount Global, pushed the stock up 12% on Wednesday. Redstone has long regarded the studio, which was a cherished asset of her father, Sumner Redstone, as the centerpiece for Paramount and a deal without the studio could be far trickier to engineer.

Reps for Redstone and Paramount did not immediately respond to Deadline’s requests for comment.

Redstone, whose National Amusements controls more than three-quarters of the voting shares in Paramount, is looking more favorably on a competing offer from David Ellison’s Skydance Media. Already a co-financing partner with Paramount Pictures on a number of major film projects, Skydance has expressed interest in taking a majority stake in National Amusements as a step toward gaining control of Paramount Global. Ellison has backing from RedBird Capital, Tencent and KKR.

The Ellison option has been sweetened by the involvement of former CNN chief Jeff Zucker and ex-NBCUniversal CEO Jeff Shell with RedBird. Both execs could play a role in operating parts of the Paramount portfolio, notably the company’s broadcast and cable networks.

Paramount came into 2024 as the most likely player in legacy media to participate in an M&A deal. The company has also fielded offers from Byron Allen and a feeler from Warner Bros Discovery boss David Zaslav, though neither of those transactions is in an active state.

Redstone, who became non-executive chairwoman of ViacomCBS, later renamed Paramount Global, after the companies merged in 2019. Paramount stock has fallen to a fraction of its value at the time of the merger’s closing due to a number of challenges, most notably the company’s exposure to significant declines in the pay-TV business.
 
https://deadline.com/2024/03/hollyw...tv-business-crushing-grim-reality-1235863807/

Hollywood Contraction: Unscripted TV Business Facing “Crushing” Grim Reality As Fewer Shows Lead To Fewer Jobs

By Peter White - Television Editor @peterzwhite March 21, 2024 - 7:30am PDT

Editor’s note: This is the latest installment in the Deadline series Hollywood Contraction, which examines the toll the job losses caused by the ongoing industrywide cost-cutting has had on different sections of the entertainment community.

Matthew Hobin, a producer who has worked on series including Kitchen Nightmares and Hell’s Kitchen, was driving for Uber Eats when he found out his Netflix food series Fresh, Fried and Crispy got four Daytime Emmy nominations including a best director nod for himself.

Hobin, who runs OU812 Productions and was a co-exec producer on truTV’s Storage Hunters and exec producer on Andrew Zimmern’s Bizarre Foods, told Deadline that he pulled over, celebrated for 30 seconds, and went back to delivering food.

His story is symbolic of a broader problem in the unscripted industry, which is impacting significant numbers of p
people.

Patrick Caligiuri, a producer who has worked on shows including Big Brother, The Amazing Race and American Idol and was most recently a co-exec producer on The CW’s Fight To Survive, is facing a similar situation.

Caligiuri told Deadline that he knows of people who are working for DoorDash who have five Emmys on their mantels while others are driving for Uber or selling their “inherited grandmother’s jewelry” to make ends meet. He went viral recently when he posted a TikTok to his LinkedIn page titled “Reality TV is Dead”. The post, which has had close to 2,000 comments, eloquently laid out how the current state of the business was “crushing” entertainment workers.

“I don’t think anybody in the nation knows how bad it is in Hollywood, because we still are given this premise that the economy is doing great right now,” he told Deadline. “There’s a trickle-down effect. First we’re out of business, but then we’re not hiring the catering companies, the drivers, the cube trucks or the production spaces.”

It’s not just producers and other below the line workers that are suffering. As Deadline laid out, there’s a “full-scale depression” among unemployed executives, as well.

“One of my favorite network executives got let go a week after she won an Emmy,” said Hobin, the son of a steelworker.
 
Anyway, take a look at how DIS has fared since - DIS is doubling the S&P and it's not even a fair comparison with the other old media companies. Unfortunately, i have more than enough tied up in this one stock so I really never consider adding more, but wow, this was some buying opportunity.

Since September 2023 (aka when your comparison started, roughly), I've added 3.5 shares. Not anything to stand on the roof and yell about, but since I continued to buy in very small increments at the lows, I've broken even and gotten into the black with DIS. Not much (up $48 as of right now), but it's a far cry from being down $500 not too long ago.

1711125717435.png
 
Michael Eisner

@Michael_Eisner

As I told @nytimes@dealbook, in 1983, Disney was under attack by corporate raiders trying to take over the company. That would have ended the Disney Company as we know it, for the studio, theme parks, and hotels were suggested to be sold off. The board turned to me and Frank Wells, and a different story was written, one that was continued by Bob Iger and his executive team. Today, a similar situation exists, so let’s remember the lessons from 40 years ago. Bringing in someone who doesn’t have experience in the company or the industry to disrupt Bob and his eventual successor is playing not only with fire but earthquakes and hurricanes as well. The company is now in excellent hands and Disney shareholders should vote for the Disney slate.


10:51 AM · Mar 22, 2024
56.4K Views
 
https://variety.com/2024/biz/news/what-happens-if-paramount-sold-in-pieces-1235948752/

Mar 22, 2024 - 10:00am PDT
by Jennifer Maas
What Could Happen If Paramount Global Is Sold — Especially in Pieces

What does the future hold for Paramount Global? The odds of a seismic M&A event seem to be increasing: Private-equity firm Apollo Global has reportedly offered $11 billion for Paramount’s Hollywood studios. Short of carving up the “mountain of entertainment,” as the Paramount+ tagline boasts, analysts say the overture could drive up bidding for the entirety of Paramount Global — which is what Shari Redstone, who owns a controlling stake in the media conglomerate, is understood to prefer.

Given that backdrop, let’s consider what Paramount Global comprises — and the potential effect of selling it off in its entirety or in pieces. As it stands, Paramount Global, led by CEO Bob Bakish, is made up of three segments: filmed entertainment, TV media and direct-to-consumer streaming.

The company’s filmed entertainment unit, which includes Paramount Pictures, is its smallest, representing 10% of overall revenue in 2023. Last year, the segment generated revenue of $2.96 billion (down 20%) and an adjusted operating loss of $119 million (versus operating profit of $272 million a year earlier). The company blamed the decline on lower theatrical and licensing revenues, compared with 2022 when Tom Cruise’s “Top Gun: Maverick” banked $1.5 billion at the global box office.

TV media is Paramount Global’s biggest segment, at 68% of 2023 revenue. But it’s been steadily declining over the past several years. Last year it pulled in revenue of $20.1 billion (down 8%) and $4.79 billion of adjusted operating income (down 12%). The fast-growing direct-to-consumer segment (23% of 2023 revenue) had $6.74 billion in revenue, up 37%, and an adjusted operating loss of $1.66 billion (an improvement over -$1.82 billion in 2022).

Filmed Entertainment
  • Paramount Pictures
  • Paramount Players
  • Paramount Animation
  • Nickelodeon Studio
  • Awesomeness
  • Miramax (a joint venture with BeIN Media Group)
The filmed entertainment portion consists of studios Paramount Pictures, Paramount Players, Paramount Animation, Nickelodeon Studio, Awesomeness and Miramax — but does not include Paramount Television Studios, CBS Studios or Showtime/MTV Entertainment Studios, which fall under the TV media division.
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Apollo Group’s reported $11 billion for Paramount Global’s film and TV studio business (which Redstone reportedly is “unconvinced” about) would encompass Paramount Pictures’ library of more than 1,000 film titles with rights to an additional 2,500. That would include some of the studio’s biggest titles and franchises such as “Mission: Impossible,” “The Godfather” trilogy, “Indiana Jones,” “Titanic,” “Forrest Gump,” “Top Gun,” “Iron Man,” “Love Story,” “Beverly Hills Cop” and “Saving Private Ryan.” The filmed entertainment segment includes the Paramount Pictures Studio lot at 5555 Melrose Ave. in L.A., spanning roughly 62 acres of land.

What’s unclear is whether Apollo bid is only for Paramount Global’s filmed entertainment division or whether it encompasses the studios housed in the TV media group. If it’s the latter scenario, such a deal would include a slew of TV properties like “Yellowstone,” “NCIS,” “FBI,” “Jack Ryan,” and tons of kids & family, unscripted and reality content.

TV Media
  • CBS Television Network
  • CBS Stations (29 owned broadcast stations)
  • Paramount Media Networks: CMT, Comedy Central, Logo, MTV, Nickelodeon, Paramount Network, Paramount+ With Showtime (cable network), Pop TV, Smithsonian Channel, TV Land
  • BET Media Group
  • International free-to-air networks: Network 10 in Australia, Channel 5 in the U.K., Telefe in Argentina, Chilevisión in Chile
  • CBS Sports Network
  • Studios: CBS Studios, Showtime/MTV Entertainment Studios (includes MTV Documentary Films), Paramount Television Studios, CBS Media Ventures
If Apollo or another buyer were to swing a deal for Paramount’s filmed entertainment group plus the television studios, the TV media division would end up comprising: the CBS broadcast network (which currently holds some pricey NFL rights), 29 owned-and-operated local CBS Stations, a handful of international free-to-air networks, the cable portfolio of Paramount+ With Showtime (formerly known as Showtime), MTV, Comedy Central, Paramount Network, Smithsonian Channel, Nickelodeon, BET Media Group and CBS Sports Network. It also would include CBS Media Ventures, which produces and distributes first-run syndicated programming, plus digital properties CBS News Streaming and CBS Sports HQ.

Without the studio business, Paramount Global — as a collection of channels and platforms — “may appear hollow,” MoffettNathanson analysts led by Robert Fishman and Michael Nathanson wrote in a note. Would there be enough there for another media company or private-equity firm to be interested in a deal?

Direct-to-Consumer
  • Paramount+
  • Pluto TV
  • BET+
A buyer may opt to bid for not just the TV media assets but also the DTC business: Paramount+ (now with Showtime), Pluto TV and BET+. (Paramount Global is shutting down Noggin, its subscription service for preschool-age kids, in a cost-cutting move.) But again, whoever bought those assets would not own the content engine that supplies a good chunk of programming to them.

That might be less of a concern to buyers who know that the rights situation at Paramount has become “complex” over the past few years, per one rival studio source. Franchises like “Mission: Impossible” have had rights sold off to partners like Skydance, and dozens of similar third-party deals have been done over the past 20 years that whittle down the content that’s actually owned outright by Paramount’s studios.

Then there’s cross-platform intellectual property to consider, like “Star Trek,” which Paramount has a firm hold on — but its film franchise is part of Paramount Pictures, while the TV universe, including “Discovery,” “Below Decks,” “Picard” and “Prodigy,” is under the aegis of CBS Studios.

But if Redstone has her druthers, none of this will be an issue: At the moment, it seems Redstone is preferring to continue negotiating a deal with Skydance’s David Ellison, in partnership with RedBird Capital and Tencent, to sell National Amusements Inc. (which owns nearly 80% of the voting power in Paramount Global). The plan would then be to merge Skydance with Paramount Global.

If Ellison and his partners take the whole package, the messiness of breaking up the mountain goes away. However, that doesn’t mean the company would remain as it is today: A new owner could further downsize the staff or make other drastic changes at the networks or the streamers — or try to sell off the less valuable assets.
 
https://www.ft.com/content/0a182c97-6af7-42a6-ad9f-ae980562bb45

Investor Nelson Peltz: ‘I’m not trying to fire Bob Iger, I want to help him’
The billionaire on his fight to fix Disney, keeping politics out of the boardroom — and why he is backing Trump again© by Harriet Agnew - 3/22/24

At lunch as in business, Nelson Peltz makes his preferences known. Sweeping past the row of pink bougainvillea into Trevini in Palm Beach, the octogenarian activist investor and father-in-law of Brooklyn Beckham greets me, then turns to the waiter: “Can you turn the music down? We have important stuff to talk about.”

It’s the proprietor’s prerogative — Peltz’s 19-year-old investment firm, Trian Partners, owns the building and the Italian restaurant is their de facto canteen. Soon the elevator-style music quietens down and we settle at our table on the outdoor terrace.

Peltz, 81, dressed in the off-duty-billionaire uniform of navy blue polo shirt and zip-up jumper, is a busy man. He’s waging his second proxy fight in as many years at US entertainment group Walt Disney; he’s trying to sharpen up Unilever, the maker of Marmite, Dove soap and Hellmann’s mayonnaise; and he’s “reluctantly getting involved in US politics again”.

A self-styled “constructivist”, Peltz is best known for his turnaround campaigns at big consumer goods companies such as Mondelez, Heinz and Procter & Gamble. Trian’s playbook is to buy a stake in a listed company and agitate for improvements, often by seeking a board seat and sometimes pushing for divisions to be broken up or sold.

Unlike the corporate raiders of the 1980s and the private equity firms, their modern counterparts, Peltz aims to win over management and other shareholders with the power of analysis and argument. “We don’t leverage up, we don’t buy all this funny money crap, we buy old-fashioned stock and work it hard,” he says. “We’re there to help these companies . . . not to break them up for immediate gain and leave them lying by the road.”

But the advances of Peltz and his ilk aren’t always welcomed and recent research by Goldman Sachs casts doubt on whether activist investors actually add value in the long run. Other critics have suggested that activists take credit for improvements the company would have made anyway.

Peltz has a deep voice, a piratical charm and an uncompromising approach — “a case of the cure being worse than the disease”, says one critic. The wedding planners he hired six weeks before his daughter Nicola’s wedding to Beckham Jr and let go nine days later dubbed him a “bully billionaire” in a lawsuit.

“A what billionaire?” he shoots back when I ask about this.

“A bully billionaire.”

“That’s probably true,” he laughs. “What sense is being a billionaire if you’re not a bully? Let me tell you something . . . They got a great deal for doing nothing. But that’s water under the bridge.”

Dismissing my suggestion of a glass of wine — “very rarely do I drink wine. I prefer a Pepsi Max . . . or a Frosty” (the signature milkshake of American fast-food chain Wendy’s, where he’s chair of the board) — Peltz orders an English breakfast tea, and I some sparkling water.

Palm Beach has been Peltz’s stamping ground since the 1980s. “This place has become unlike any place in America,” he enthuses. Referring to the cut-and-thrust culture and low tax regime that have lured magnates to southern Florida, he goes on: “You’ve got so many meat eaters, carnivores . . . All my friends live on the same street” — South Ocean Boulevard, a stretch of ultra-exclusive waterfront properties bordered to the east by the Atlantic.

Montsorrel, aka Maison Peltz, is the stuff of Palm Beach legend. Originally called The Towers, it was owned by the railroad magnate Robert Young and his wife Anita O’Keeffe (sister of artist Georgia O’Keeffe). After Young shot himself in The Towers in 1958, his widow demolished the house and replaced it with a giant neoclassical mansion. “She built this house to show that she had not run out of money,” says Peltz.

He and his wife Claudia bought the property in 1987 and have subsequently expanded it. Claudia is mother to eight of Peltz’s 10 children — including two sets of twins, the youngest of whom are in their early twenties.

Menu​

Trevini Ristorante

223 Sunset Avenue, Palm Beach, Florida 33480
Burrata x2 $58
Fish special x2 $82
Bottle San Pellegrino x2 $18
Hot tea x3 $15
Total inc tax and service $220
The waiter runs through the specials. I order the burrata Pugliese to start, followed by snapper for the main course. Peltz opts for the same.


Palm Beach’s most (in)famous resident is Donald Trump, whom my guest has known for decades but — last we heard — disassociated himself from.

Peltz abstained from voting in the 2016 presidential election that put Trump in the White House, only to host a fundraiser for him during his 2020 campaign, when he was defeated by Joe Biden. Following the storming of the Capitol in January 2021, Peltz went on CNBC to apologise for supporting Trump’s re-election attempt.

Peltz is keen to stress that he has previously voted for Democrats: “I’m not one of these crazies who’s Republican or nothing.” He tried to convince Trump not to rerun for president, to be a kingmaker rather than a king, he goes on: “I thought we might get someone less controversial.”

So who will he back in this year’s contest? “I’m not ready to say that,” says Peltz. He changes his mind. “I’ll say it.” Long pause. “It will probably be Trump and I’m not happy about that.”

Peltz explains that his dramatic U-turn primarily reflects his worries about immigration. He is also concerned that 81-year-old Biden’s “mental condition is really scary” and thinks that the 91 criminal charges in federal and state courts that Trump is facing represent a “miscarriage of justice”.

America — financially and militarily — “is still as strong . . . but we are degrading,” he goes on. He is not seeking to stop immigration “but I want some boundaries put on it so we know at least who we’re bringing in”.

Peltz “may not” give Trump financial support. In February he and Tesla co-founder Elon Musk hosted a dinner at Montsorrel, he tells me. It wasn’t a fundraiser: it was “just to talk about what the country needed”.

But Peltz is ready to settle for “not a perfect candidate, nor is Biden . . . It looks like Trump is all we got.”


Peltz grew up in Brooklyn and later dropped out of Wharton business school because he was bored. He flirted with a career as an actor, even taking night classes with Stella Adler (teacher of Marlon Brando and Steve McQueen). After a spell as a “ski bum” was cut short by injury, in 1963 he went to work for his family’s wholesale frozen food distribution business. He ended up staying for 15 years.

To his father he credits his work ethic and teaching him the mantra “sales up, expenses down”. His father’s death at 76 — “As soon as he took it easy he got sick . . . showed me I need to keep working.” His mother lived to 108: “She was a tiger.”

As we begin our starters — slightly flavourless mozzarella and tomato in need of seasoning, with roasted peppers — Peltz tells the story of Triangle Industries, his focus in the 1980s. Fuelled by the junk bonds of his friend Michael Milken, he and his business partner Peter May built it into the largest packaging company in the world, before selling it. They later bought and lucratively sold the Snapple beverage business.

Together with his son-in-law Ed Garden, Peltz founded Trian in 2005. Since then they have taken on more than 30 of the world’s largest consumer, financial and industrial companies; their engagements range from behind-the-scenes dialogue to all-out proxy war.

One black mark was Trian’s $2.5bn bet on US conglomerate General Electric in 2015. “I regret buying GE . . . I was lied to . . . the numbers weren’t real,” says Peltz. In 2020 GE agreed to pay the US regulator $200mn for disclosure violations.

Disney is only the fourth proxy fight in Trian’s history. The most recent one — P&G in 2017 — marked one of the largest, most expensive and most dramatic proxy battles of all time, with Peltz claiming a board seat by a whisker following a recount.

Peltz likes to say that he’d rather be rich than be right. But while the P&G battle played out at the height of Trian’s power, the Disney proxy fight has coincided with a period of internal turbulence at the firm and muted performance.

Last year Garden abruptly left Trian, which he had been expected to one day run. Assets have dropped from $12.5bn in 2015 to around $10bn today, including more than $2bn worth of Disney shares from Peltz’s friend Ike Perlmutter, which he lent to Trian’s proxy fight. According to Centerview Partners, Trian’s five-year annualised returns to September 30 were 6 per cent, trailing the equivalent of 10 per cent for the S&P 500. Trian has outperformed the S&P 500 since its 2005 inception.

Two of Peltz’s sons, Matt and Diesel, work at Trian. And Brad, another son, works for a Wendy’s franchisee. Diesel, says his father, has been helping him get to grips with the tech industry by introducing him to Silicon Valley entrepreneurs such as Elon Musk, Sam Altman and Travis Kalanick. But Peltz says he’s not ready to name his successor — “I’m not going anywhere, girl. I’ve got no plans to move. I love what I do and a succession plan will evolve when I leave but I’m going to leave with a fight . . . with whatever is pulling me away.”


Peltz insists he’s not an activist investor: “I wanted to invest in companies [that are] good companies but they’re just sort of missing it a little bit . . . That’s still the attitude.”

This neatly segues into Disney, where Peltz has been on the warpath. “Disney is stupid because I’m not trying to fire [chief executive] Bob Iger, I want to help him,” he says, unsolicited. “We don’t fire CEOs.”

By now our main course has arrived: filleted snapper in a gloopy artichoke, mushroom, tomato and white wine sauce, served with sautéed spinach.

Trian unveiled a $2.5bn stake in Disney in January 2023, criticising, among other things, the company’s $71bn acquisition of 21st Century Fox in 2017 that saddled it with debt, and the entertainment giant’s languishing share price and shrinking margins. But Peltz called off the proxy fight a month later, applauding Iger’s plan to cut costs and reinstate the dividend.

However, after growing impatient with a lack of progress, in November — much to Disney’s consternation — Peltz revived his campaign for board seats. Trian currently controls a Disney stake of around $3.5bn.

Disney said that Peltz has not “presented a single strategic idea” to the company during two years of campaigning for board seats. When I bring this up, Peltz launches into a critique of Disney’s movie business, which even Iger admits had a bumpy 2023. “They say we know nothing about the movie business — we don’t claim we do — but I don’t think they do, with five big losers in a row. They’ve lost first place in animation, they’ve lost first place in features . . . Maybe it’s time to change management in those divisions.”

Is it time for Kevin Feige to go, I ask, referring to the president of Marvel Studios who oversaw the highest-grossing film series of all time before the recent rough patch. “I’m not ready to say that, but I question his record.”

Peltz has previously called out Disney’s “broken” succession planning process that saw its long-standing boss Iger return to replace his handpicked successor after less than three years. He is critical of the $1bn that he says Disney executives have been paid over the past decade, while the share price has underperformed. “I love my CEOs to be the highest paid but shareholders have to participate,” he says.

It sounds like you do want Iger to go. “No, I don’t. I don’t want Iger to go.”

Iger acknowledged last year that his company has focused too much on movie messaging and not enough on quality storytelling. Peltz agrees that Disney has become too woke. “People go to watch a movie or a show to be entertained,” he says. “They don’t go to get a message.”

The waiter comes to clear away the plates. Peltz has left half of his main course — “I wasn’t that crazy about it.” Returning to “woke” Disney, he takes aim at The Marvels and Black Panther, which portrayed female and Black superheroes respectively. “Why do I have to have a Marvel that’s all women? Not that I have anything against women, but why do I have to do that? Why can’t I have Marvels that are both? Why do I need an all-Black cast?”

A showdown is looming at Disney’s annual meeting on April 3. It could be a tight contest. JPMorgan Chase chief executive Jamie Dimon and influential proxy adviser Glass Lewis have backed Iger; while ISS, the other main proxy adviser, has recommended that Disney shareholders vote Peltz to the board.

Peltz has had more success recently at Unilever, which he has sought to streamline to improve margins. He was appointed to the board in May 2022 and on Tuesday Unilever announced it would split off its ice-cream business and cut 7,500 jobs.

He has been at loggerheads with Unilever’s ice-cream brand Ben & Jerry’s over its stance on Israeli politics. In 2021 Ben & Jerry’s attempted to stop selling its products in occupied Palestinian territories, prompting Unilever to sell the Israeli arm of the brand to a local licensee. More recently, in January Ben & Jerry’s board called for a permanent ceasefire in Gaza.

“You’ve got to get these politics out of the boardroom,” says Peltz. “Ben & Jerry’s job is to sell ice cream, not to make political statements. And these people use anything for a soap box that they have no right to do.”

Peltz continues: “I have my own feelings about a ceasefire. Israel has got to get a few things squared away before they get a ceasefire because what happened to them was despicable.”

Returning to putting profits before politics, he tackles the question of whether companies should continue to do business in Russia after it invaded Ukraine.

“I told Unilever not to pull out and so far they’ve listened,” says Peltz. “If we pull out of Russia, they will take our brands for themselves. I don’t think that’s a good trade.” Rivals such as P&G and Colgate-Palmolive didn’t pull out: “Why the hell should we? . . . We’re competing on the world stage with these products.”

We decline the waiter’s offer of dessert. I order a green tea; Peltz, his second English breakfast tea.

By this point, I have already fended off several interruptions from one son and two assistants trying to pull Peltz back to the office. But I haven’t come all the way to Palm Beach not to establish the veracity of that topless tennis story that he has always maintained is apocryphal. Connie Bruck’s 1988 book The Predators’ Ball recounts how Peltz and his late friend, corporate raider Saul Steinberg, once had four women play a game of topless tennis in which they were the only spectators.

“Another nonsense,” he says. “You know what’s great, is when we all were doing what we did in the ’70s, nobody had this [he picks up his cell phone] and there was a level of privacy to your life . . . And not that you want to do anything wrong but I think you’re entitled to some level of privacy sometimes. And I’m not talking about topless tennis, I’m just talking about your life.” Pause. “You were really digging deep there to get that one.”

“It’s everyone’s favourite story about Nelson Peltz,” I counter.

“You think so? I hope not. I hope I’m known for something other than that. You get a bad burn that way,” he says, laughing.

“So the topless tennis is true?” I persist.

Peltz looks me in the eye through his horn-rimmed glasses and manages to both shake and nod his head all at the same time. You can’t hustle a hustler.

My guest is starting to get impatient. After one final overture to Iger — “We’re not there to fight. We’re there to help him” — we bid each other farewell. “I gotta go, girl,” says Peltz. “Be gentle with me.”

Harriet Agnew is the FT’s asset management editor
 
https://www.yahoo.com/entertainment/paramount-eclipses-warner-bros-discovery-193942891.html

Paramount Eclipses Warner Bros. Discovery With Most In-Demand Licensed Titles on Netflix
by Daniel Quinaud
Fri, March 22, 2024 at 2:39 PM CDT

Netflix has had success with licensing content recently from other networks. Seen as a complement to its original programming and as a way to drive audience engagement with the catalog by its CEO, these shows often find a renewed appeal following the move.

In the past year, licensed content accounted for nearly half of Netflix’s TV catalog demand. The platform’s largest supplier of licensed titles is Paramount, which generates 8.3% of its catalog demand despite being only 1.8% of the TV catalog.

This demand share has seen a marked increase since the last quarter of 2023, when Netflix licensed many shows, among them CBS’s ”Young Sheldon.” However, most of Paramount’s titles on Netflix are Nickelodeon shows. The original animated “Avatar: The Last Airbender” and “The Legend of Korra” have both seen increases in demand as interest has spilled over from the recent Netflix live-action adaptation.

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Until October 2023, Warner Bros. Discovery was the primary source of licensed TV content for Netflix, when the demand share for WBD shows was higher than Paramount’s. This share was only slightly affected by the Netflix-WBD deal signed that brought several HBO shows to Netflix in the U.S. for the first time through 2023, rising to 7.5% in September, when HBO’s WWII shows “Band of Brothers” and “The Pacific” became available on Netflix.

Although the availability of HBO shows on Netflix generated considerable media attention, the majority of WBD content on Netflix comes from The CW and Cartoon Network. Available on the platform for almost a decade, “The Flash” is the most in-demand CW show on Netflix, followed by “Supernatural” and “Riverdale.” CN, on the other hand, helps Netflix to boost its kids’ catalog with shows like “Ben 10,” “Sonic Boom” and “The Powerpuff Girls.” WBD demand share is also impressive when compared to how many titles are available on the platform. WBD-owned networks are responsible for 1.7% of the number of shows available on Netflix.

Comcast is another growing contributor, with its demand share growing from 3.5% in mid-2023 to 4.6% in February 2024. Comcast’s licensed content includes not only popular, highly-rewatchable sitcoms like “Seinfeld,” and “Community,” which are a great tool for Netflix’s subscriber retention between season releases of hit shows, but also Bravo’s reality TV.


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The number of Bravo titles available in Netflix’s catalog more than doubled between November and December 2023. The new batch of licensed Bravo content includes “Top Chef” and “Project Runway,” both shows that saw an increase in demand following December. Another example of a Comcast show that found a second life on Netflix is “Suits,” which blew up on the streaming charts during the strike-related content drought in Summer 2023.

Both sides of the negotiating table can benefit from the licensing deal. The revival of interest in a show after licensing generates an effect similar to when a new season is released. With the show being made available on a platform with a wider reach, audiences that missed the show in its first run now have access to it.

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Daniel Quinaud is a senior data analyst at Parrot Analytics, a WrapPRO partner. For more from Parrot Analytics, visit the Data and Analysis Hub.

The post Paramount Eclipses Warner Bros. Discovery With Most In-Demand Licensed Titles on Netflix appeared first on TheWrap.
 
I love this part of the story. The Marvels was a disaster for the MCU but getting rid of Black Panther 1 & 2 means Disney would've missed out on over 2 billion dollars of box office returns. Go away crusty old man. Leave the creative to someone else. And getting rid of Captain Marvel means losing a 1.1 billion dollar movie.

The waiter comes to clear away the plates. Peltz has left half of his main course — “I wasn’t that crazy about it.” Returning to “woke” Disney, he takes aim at The Marvels and Black Panther, which portrayed female and Black superheroes respectively. “Why do I have to have a Marvel that’s all women? Not that I have anything against women, but why do I have to do that? Why can’t I have Marvels that are both? Why do I need an all-Black cast?”
 
I love this part of the story. The Marvels was a disaster for the MCU but getting rid of Black Panther 1 & 2 means Disney would've missed out on over 2 billion dollars of box office returns. Go away crusty old man. Leave the creative to someone else. And getting rid of Captain Marvel means losing a 1.1 billion dollar movie.

Wakanda Forever did not have an all black cast either. Latest rumor is they cancelled Captain Marvel 3 anyway. So it's not like Marvel (or Iger/Feige) are oblivious.

I'm also not opposed to people who actually OWN STOCK being on the Disney board (what a concept), but yeah he didn't do himself any favors with that interview.
 
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